Full Harmony – Sculptural Lotus Ring
A layered composition in gilded brass, striped flint and symbolic form
Full Harmony was created from a fascination with the lotus and with the meaning carried by its form. Across cultures, the lotus has long been associated with purity, renewal and the emergence of something valuable from difficult or imperfect conditions.
What interested me most, however, was not the flower as an ornamental motif, but the idea of protection contained within its structure. The petals open outward, yet at the same time they surround and preserve the centre. That relationship became the starting point for the object.
At the centre of Full Harmony is a selected piece of striped flint. For me, this stone has always possessed a character far beyond decoration. Its natural bands, formed through geological time, give each fragment an identity that cannot be repeated or designed.
Striped flint has also been associated with optimism, protection and enduring strength. For some, it carried spiritual significance. For me, its value begins with the extraordinary character already present within the stone itself.
The surrounding lotus form was therefore developed as a contemporary symbol of guardianship. The petals do not simply frame the stone. They surround it, preserve it and define it as the centre of the composition.
Eight petals are arranged across successive levels, creating a layered structure that refers to the unfolding architecture of a lotus without attempting to reproduce the flower literally. The form remains geometric, disciplined and sculptural.
Each element was cut from brass sheet, shaped individually and silver-soldered into the larger composition. The construction was deliberately left open, allowing light and space to move through the object and making its internal structure visible from multiple viewpoints.
The striped flint is not treated as an applied ornament. It is the reason the object exists in this form. Its presence determines the scale, rhythm and geometry of the surrounding metalwork.
The reverse of the object was developed with the same attention as the front. An opening beneath the stone reveals its structure from within, reinforcing the idea that the flint is integrated into the sculpture rather than simply mounted onto its surface.
The brass was refined through repeated stages of filing, fitting and hand-finishing before being finished with 23-carat Italian gold. The gilded surface responds to light across the curved petals and open spaces, creating a continuous dialogue between reflective metal and the quieter mineral depth of the stone.
As the object is turned, its character changes. From the front, it reads as a radial and almost ceremonial form. From the side, the layered construction becomes more visible. From the reverse, the open architecture reveals how the stone, petals and supporting structure are connected.
Although Full Harmony began as a ring, it was never conceived solely as jewellery. From the beginning, it was approached as a sculptural study. Its scale, open architecture and symbolic structure allow it to exist independently while also forming part of a broader sculptural vision in which lotus symbolism and striped flint continue their relationship on a larger scale.
A custom dark-green wooden presentation case was created specifically for Full Harmony. Its satin-lined interior provides a restrained setting for the object, while the hand-fitted hardware continues the material discipline of the work beyond the sculpture itself.
Full Harmony belongs to the Sculptural Objects section of the Collection, where symbolic forms are reconsidered through material, structure and traditional metalworking.
The result is not simply a ring inspired by a lotus. It is an object built around the idea of protecting what is rare and meaningful – a sculptural form in which the lotus becomes a guardian, and striped flint becomes the symbolic centre it was created to protect.
